1981 -
ATCO  |
"Heck,
even when it is predictable and mildly boring it still rocks harder
than the vast majority of what we’re subject to today." |
|
| 1976
- ATCO  |
"Sure
AC/DC is pompous, obnoxious, and even a bit rebellious. But, the tracks
on High Voltage translate well even today." |
|
| 1979
- ATCO |
"The
end result of this divine combination was Highway To Hell, ten tracks,
and AC/DC’s first platinum album. Fans couldn’t have possibly
hoped for more." |
|
| 1990
- ATCO  |
"I
do in fact love Thunderstruck. Johnson sounds inspired, energetic,
and relentless while the Young brothers are perfectly flattering.
The intro to this track is by far one of the most memorable of AC/DC’s
extensive back catalog." |
|
| 1986
- Atlantic
|
"With
just nine rockin’ songs, Who Made Who is a nearly complete vision.
Included on the album are some classics like my favorite ”You
Shook Me All Night Long”. Also included is the title track that
was actually original to this album..." |
|
| 2003 - Lost Highway  |
"The
reason that his music never quite works has a good deal to do with
his inflated opinion of himself. There is no question that Adams is
inspired, but he has yet to actually harness that inspiration." |
|
| 1980
- Columbia |
"Greatest
Hits is unquestionably a great brief overview of early Aerosmith.
True fans will also certainly like it, but they will also be able
to more easily point out the faults." |
|
| 1995
- Columbia |
"It’s
even more depressing than usual. Their sound is ridiculously harsh
and sour, making them seem like a musical cartoon of sorts. Honestly,
earlier offerings show a much greater amount of talent." |
|
| 1990
- Columbia
|
"As
many people like myself of this generation understand, this is a very
good album. One that deserves a place in the grunge/alternative/rock
collections of music lovers everywhere." |
|
| 1994
- Columbia
|
"The
sense of loss is the pervasive theme--something which is impossible
to miss considering the combined sound and lyrics." |
|
| 1999
- Arista |
"Regardless
of what music a listener enjoys, Allison will not satisfy. She has
no identity, her music lacks purpose, and the album is over-produced.
Stay away from Afterglow." |
|
| 1996
- Atlantic
|
"I am
not impressed by Tori's cockamamie ideas, lyrics, and melodies. I
do not appreciate the superfluous length of the album. Truthfully,
aside from a handful of songs I have no particular use for this disc." |
|
| 1992
- Atlantic
|
"Amos
is the kind of artist you either love or hate—and this is the
kind of material that makes her or breaks her." |
|
2006 -
Rhino/WEA |
"Tori
Amos has always prided herself on creating music that makes her
listeners feel. As proven by Fade to Red, her videos also accomplish
very much the same thing. They alternate between the dark and light,
the wild and serene, and the esoteric and simple." |
|
| 1998
- Atlantic
|
"She
still sounded the same, and still played piano but she produced herself
into a new role. That of an electronica rather than folk-rock-ballad
chanteuse. Clearly, Amos had spent some time digesting contemporary
electronica music and decided that the equation would too work for
her." |
|
| 1996
- Atlantic
|
"Hey
Jupiter came on the heels of the aforementioned Boys for Pele debacle.
Taking into account my considerable disdain for that album, I assumed
I wouldn’t like Hey Jupiter despite the choice to include a
version of two songs I did like from the album, Hey Jupiter and Professional
Widow." |
|
| 2001
- Atlantic
|
"Undoubtedly,
there are people who will think less of Amos for tackling other artist’s
song. I, on the other hand, don’t feel that way. Strange Little
Girls proves to be just another notch in the bed post of Amos’
stellar career." |
|
| 2002
- Epic
|
"Amos
has proven in the past that she is a creative, dynamic woman with
a way with words and the piano. This album is by no means representative
of her talent. I'm bored by the milquetoast approach of this album
and the generic production." |
|
| 1994
- Atlantic |
"Under
The Pink is a scrumptious album. One that deserves to be held closely,
caressed, and loved." |
|
| 1995
- 4AD
|
"At the
same time that the minimalist approach to production works well for
garage rock, it also detracts from the overall appeal of the album.
It sounds very much like the album was recorded in a tin room." |
|
| 2003
|
"To pigeonhole
Amun Ra as just world, pop, or neo-soul would be doing the Boston-based
band a disservice." |
|
| 2001
- Island
|
"The
same equation is used for each track. Take a single lined chorus.
Repeat. Throw in a word or two here and there and mix. Instantly infectious
neo rock and roll." |
|
| 2000
- Arista
|
"
It’s easy to point to Aparo’s angelic voice and his keen
sense of the English language as major highlights of the album. " |
|
| 1996
- Work Group
|
"There's
so little I can say to criticize this album. I wish it were longer,
but with 10 tracks Apple has created a very complete picture." |
|
| 1998
- Epic
|
"It’s
a shimmering, challenging affair filled with painful words and neatly
assembled pianos. Nothing on the album is too big. Apple wields an
impressive talent, yet she still is able to hold herself back where
need be." |
|
| 1996 - Reprise
|
"...at
the same time baffling as it is entertaining. The confusing moments
come when the band slips into the stereotypical punk-pop role." |
|
| 2000
- Virgin
|
"Ashcroft
is widely known for both his inventiveness and his dedication to his
craft. But even at the same time he is known for his creativity, it
must be noted that Alone with Everybody is not a groundbreaking effort.
It is merely pretty, but with that said pretty is quite often a positive
attribute." |
|
| 2002
- Virgin 
|
"I
complained in the past that Ashcroft's lyrics are shallow. On Human
Conditions, they aren't just shallow-they are also ridiculously self
important and bland." |
|
| 2003
- Astralwerks
|
"Just
enough irreverent to catch and hold my attention but just enough appealing
to want to share with folks not usually interested in my “kind”
of music." |
|
2005
- Interscope |
"That
said anything from Audioslave is better than the music from about
99% of the other “rock” bands out there today. " |
|
| 2000
- Hopeless
|
"That
sound, which walks the heavy metal tightrope with seamless ease, is
what makes Avenged Sevenfold something bigger and better than many
of their contemporary counterparts." |
